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A small number of other monuments of this class belongs to the ‘Seven against Thebes,’ and, as in the case of the Etruscan urns, the Phoinissai of Euripides is the main source of the illustrations. Perhaps Seneca’s Phoenissae also entered into the work. Robert conjectures that Euripides’ Oedipus may have furnished suggestions for parts of the scenes^[57].

The Philoktetes of Sophokles is illustrated on one relief very much in the manner of the Etruscan urns already referred to. The wounded Philoktetes stands at the mouth of the cave and speaks to Neoptolemos on the right. Odysseus keeps safely out of sight on the left^[58].

The story of Pasiphaë’s unholy love is told on a fragment of a sarcophagus in the Louvre^[59]; Daidalos and his cunning work play the leading part. The ultimate literary authority was Euripides’ Κρῆτες. The latter may not have been used directly, as the myth enjoyed after this play a continuous popularity. The relief on one end represents a fruit offering, and as this would agree with the vegetarian vow of the chorus, Robert prefers to recognize a direct connexion with Euripides^[60].